#which will absolutely matter if we get the other two books as seasons

[purplerakath]

Dissecting an Adaptation - A Good Girl's Guide to Murder

Adaptation is one of those weird topics. It's 'bad' because it changes things. But if it doesn't change things, its still bad. A no win scenario as you turn one thing into itself from a new angle. And a lot of the time people don't look at why it made changes, or what those changes do. Or how those changes play into the nature of the story.

TV, Film, Books, Comics, and Video Games have different tools, different rules, and different ways to do the same thing: tell a story.

This will have spoilers for both the first book, and the for season one of the series. I won't spend a lot of time on changes that impact books 2 and 3 (there are some) and won't go far enough to really qualify as spoilers for those two works.

Adaptations of Structure

The biggest change is the tools a work has to use, and the costs those tools have to use, which covers a lot of the bigger changes in the first season.

(I read the US version of the books, but won't be discussing anything to do with how those read differently from the international version.)

The books switch between three forms of writing over the course of it, narrative prose as normal for a novel, log entries written in character for Pip, and interview transcripts/text exchanges. These change the flow of how the book reads as they are written in different styles. They're very good for a written book, but won't do nearly as much good in a TV show.

Even just stopping for Pip to listen to a full interview wouldn't actually do much visually in an audio-visual medium like TV.

Which covers why almost everything from those is missing. The interviews Pippa does are all done in narrative without a break to a new format to make it clear what's going on. And this is, overall, fine. As much as Pippa's catfishing email exchanges are really good for showing how clever and duplicitous Pip can be, they don't play well in video.

Adaptations of Tempo

Books can cover a longer space of time than a TV show does, TV shows want some continuity of motion. Nothing as exact as 24's 1:1 time flow, but you want an episode to be days not weeks. A season to be months not years (back when seasons were 20+ episodes and not 6-8 episodes).

Which is bad if you're, say, unraveling a mystery. And you want the story to circle back to previous lies, previous interesting characters who graduate to suspects. Lies that become motives. But six episodes means we can't spend too much time chasing our tails.

This also means that a lot of characters who are there to fill space... can just be rolled into another character. Chloe Burch's role in the story being rolled into Nat's character is a good example of this. Ant Lowe being exiled from Pip's friend group is another good one.

There are problems, Stanley Forbes is entirely absent from this version. Similarly we don't see Mr. Singh or Mrs. Bell. And Jason isn't remarried. These all matter to a degree, but they also don't matter right now. And the room for these characters to show up in later seasons (if renewed) is there, so they will be around when we need them.

It's just a little bit of a problem.

Adaptations of Tone

Books have a tougher time with subtext, probably due to them just being text. You have what's there, and nothing else. The audiobook has a fullcast so there might be some read directions on dialog, but you can't rely on that to tell you anything if you're reading the paperback or an epub. So a lot less of it can be about what isn't there.

But when you have actors you can do so much with things that aren't being said out loud. The difference between Book 1 Pipravi as a relationship and Season 1 Pipravi is huge. The book didn't focus on Pip's feelings about Ravi outside of how he was impacted by the case, series Pip is awkwardly trying to work out her emotions over this boy pretty much out of ep 2 and it doesn't stop until she tells him to shut up in Ep 6.

Emma also brings a different sort of intensity to Pip than Book Pip seems to contain. Pip in the book is headstrong, certain of herself (until facts break her), but her need to solve this case is a little less clear in the book (where she's doing this because she thinks its right) vs the show where it's something inside her she has to struggle with.

The other tonal shifts are one of who gets treated kinder by which version of the story. Andie of course is a lot more complex in the books, while the series paints her as a well meaning terrible person. Changing her relationship with Nat is a pretty big one (and really the only shift in the series a fully dislike).

Meanwhile the book spends a lot of time treating Elliot Ward like a good man in a bad situation, that what he did was all moments of weakness and he didn't mean to. The series more firmly paints him as a man with a darkness he hasn't come to grips with, his breakdown in the books makes him less monster than the show. In turn Naomi is given more moments of helping Pip in the series, to lessen her hand in Sal's fate, making her less villainous in Pip's eyes.

These changes on who is framed in kinder light is fairly small on paper, but huge in practice. Changes born (in part) from the tempo of the series being faster. Naomi dodges Pip's questions more in the book, turning her into a more valid suspect. While in the series she's so desperate to tell anyone what happened she let's it slip in the first episode.

Overall...

Each version does different things well, most of the changes I find indifferent. Because as much as the changes are changes, adding the parameter of acting to it means that they can make characters like Max and Daniel skin crawlingly creepy. And while later books Max is very, very creepy, that's because of what Pip knows not how he was written.

While Henry Ashton knew exactly what he was playing and exactly how to sell it with just his presence on set. And that's got it's own value too.

[usuallydyinginside]

TLDR: Francesca Bridgerton is Autistic. Fight me.

Okay so I did not go into Season 3 of Bridgerton expecting to have any feelings about Francesca Bridgerton. We have seen her only in glimpses in the show and I have not read the books, so I knew basically nothing about her before binging the first four episodes.

But guys. GUYS. I will die for this autistic queen.

Okay, so starting with first impressions. We know that on her big day, Francesca went out of her way to avoid her nosy, loud family by having a very early, quiet breakfast by herself and then calming down via playing the piano (clearly a special interest of hers).

In her first balls, we see Francesca light up any time she talks about music (clearly her current or forever special interest) but as soon as men try to take it to a flirting place she IMMEDIATELY shuts down. It's clear that even as she states very matter-of-factly that she plans to marry this season, she also is baffled and uncomfortable any time someone tries to actually, ya know, court her.

At one of her first shindigs, she got attention and then went up to her brother and (while making almost no eye contact) told him (rather than asked him) that she needed a sec.

She then sat by herself in the side of the ballroom.

Later on, she left a ball in search of quiet and solitude to fix her sensory overload, so she went outside this time. (A thing that we know from pervious seasons is a HUGE no-no, particularly unchaperoned. But she was very respectfully near the door so maybe that's fine?) The point is that she cares very much about staying respectable so she can get this marriage thing over with and get people to stop perceiving her, yet she risks some scandal by going outside just so she can be somewhere quiet alone.

Enter: this absolute (also autistic) Prince Charming.

He says hello (so she knows he's not like trying to sneak up on her in the dark like a creep) and then just stands there. 10/10, no notes, best way to flirt I have ever seen in my life.

Seriously just look at this. I'm in love. Never before has there been a greater sign of love at first sight than in this "standing politely five feet apart in total silence in the middle of a ball and enjoying each other's company."

I need to go watch these first four episodes about a hundred more times, but I THINK this might be the first sincere smile we see from Francesca??!? I at least got the impression immediately that this is the first time she's felt genuinely comfortable and happy while not entirely alone this season.

Like, these nerds did not even exchange names. They barely exchanged a word. Yet you can see them falling head over heels in love right there in that moment. I don't even LIKE love at first sight tropes and they have my whole heart. They are the only exception.

Then, of course, you have this second absolutely iconic Scene of Silence where the entire Bridgerton family stares in neurotypical confusion a these two amazing weirdos. The way these two do not know each other but they DO know each other. The way they are both so happy and so comfortable but also still playing the whole society game the way they were told they had to?? I just don't have words right now.

LOOK AT HER SMILE, GUYSSSSSSSS.

Look how happy this tiny, silent moment is making her. How she understands immediately what he's doing and is absolutely delighted to participate too even knowing her entire family is hardcore judging them from not that far away.

And then you get this smug little look from him and it's like you can see his autistic ass thinking, "Yes. I calculated correctly. This was the correct romance option. Gold star to me." (Okay, maybe that's just how my brain works but shhhhh)

Which, of course, brings us to this absolutely hilariously awkward ND attempt at flirting. We start off with some fairly normal "whoops, I'm flustered cause you make me nervous" sort of moments, but notice how little eye contact she makes. How she only looks in his eyes very briefly and it seems like she almost has to remind herself to do so when she's doing the "polite" answers (OR later when she's genuinely interested in a topic).

So as soon as Francesca is like "oh shit, I ruined it. I forgot how to neurotypical. It's over" then she loses patience with the practiced social niceties.

I spent like 30 minutes trying to find a GIF and I should already be asleep so I'm not going to go learn how to make one BUT I needed to look up exactly what happens next cause it's basically the most autistic thing I've ever seen.

WHICH IS that in response to the second awkward silence after Francesca shares all of this, John's response is, "That is helpful. If you'll excuse me."

Then dude bro just WALKS AWAY WITHOUT ANOTHER WORD.

Like it would be awkward anyway but now Francesca thinks she misread a social cue so she's feeling sad, and meanwhile this absolute king is over here on a romantic mission no one asked him to do because he is that set on showing her he's listening and cares.

The man shows up at the ball and as soon as he had a paper we were all screaming "he wrote her a song!!!"

Again, notice the eye contact (or lack thereof). I think with period dramas and women, it's easy to just go "oh she's just shy" or "she's just being demure like she's supposed to" but like NO. This girl does not want to meet anyone's eyes.

Until she does. Because in moments where she's talking about music or enjoying quiet, it's worth it to purposefully meet his eyes and see how he's feeling too. To make sure he can see she's happy.

ANYWAY, it was so much better than him writing a song for her.

SO. MUCH. BETTER.

Because he didn't just give her any ol' music. He sought out the music they'd specifically heard in the street, and he took her exact specifications on what was "wrong" with the music, and he FIXED IT. He then put the whole thing on sheet music and handed her a copy with no further explanation than this.

Our autistic lass was so excited she basically sprinted out of that ball so she could find a piano. (Which, the fact that she does this rather than try to stay and flirt/dance with the man who just gave her this incredible gift ALSO says a lot, just saying. Daphne could never.)

So our girl finds a piano and GUYS. LOOK AT HOW HAPPY SHE IS.

I'm pretty sure this woman would accept a proposal right this second. Maybe make one herself. She is so head over heels in love with this man that it's absurd. We have watched her mask in these first four episodes, but the last two where she's interacting with John are the first times she seems genuinely happy and like the real her is shining through.

Like, does she enjoy her family? Sure. But it's obvious (and she even tells us) that she finds them overwhelming and generally to be A Lot. But these scenes? This gesture?

You can just get how seen she feels. How weird and wild and amazing it is to her that this man can see who she actually is and wants to join her there instead of making her play some part of the perfect Bridgerton who likes to be the center of attention.

(And even here - the EYE CONTACT. She glances at people when she's talking to them, but the way she looks at the sheet music is so much more intense and intimate and personal than anytime she's looking at the average person in the show. She still even in places she's most comfortable, such as sitting at the piano, makes very little eye contact and only at very specific moments.)

Anyway I'm going to sleep now but I'm sure I'll add more thoughts as they come to me. Feel free to add your own case for why Francesca is autistic and/or otherwise neurodivergent. I want to hear allllllll the thoughts.

[toutvatoujoursbien]

midnight thoughts (i hope i don't regret this)

Let me preface this by saying that these are just (very, very long) ramblings I’ve had in my head over the past few days and are MY opinions. I never post to Tumblr, but my level of emotional unhinged-ness right now needs an outlet so that I can process everything and feel, well, less unhinged.

I have never been this enamored with any celebrity or promo for a show like I have for this season of Bridgerton. Admittedly, I am a fan of the books and Penelope & Colin are my favorite couple. I’m going to age myself by saying that I read the series almost 20-ish years ago; past me could have never imagined I would actually get to see a Regency romance on my screen. Romances are for the girlies, and what the girlies like tends to be mocked, ridiculed, and not taken seriously - I’ve seen this time and time again across many different fandoms. I also really enjoy the tv series for being its own creative adaptation. I’ve liked many (though not all) of the changes they’ve made to the show; and I’ve liked all the little nods to the books that have been sprinkled in. Are the books or show perfect? Of course not, but that doesn’t mean I can’t love them for bringing me some entertainment and joy and escapism. I think that’s the beauty of it, I get to have the best of both worlds, so to speak. And for me personally, it’s been so fun to watch the press coverage over the past six or so months. As a fandom, I think we’ve been EXTREMELY well fed. 

Having Nicola and Luke as the leads has been a true blessing; I think/hope folks can tell how much they clearly love and understand their characters/roles. I know everyone has been talking nonstop about their chemistry and their close friendship, which I think is beautiful, truly unique and special. How can you not enjoy watching two people, who seem to genuinely like one other, talk endlessly about a project that they love and have poured so much into? And the way they have supported one another, not only during promo, but during their years of friendship? Astonishing, really. So while I am old enough to know better than to ship real people, I would’t blame anyone (myself included) if they got caught up in the whirlwind excitement and couldn’t help but wonder a sincere “What if?” (At least that was the case for me.) Isn’t that the beauty of hope and possibility and potential? Like, I knew rationally and intellectually that the likelihood of them being together was low, but damn if I didn’t feel giddy seeing their interviews, reading articles, and watching video after video.

“Oh, but it’s all PR!” they cry. Maybe, but like most of life, I don’t think it’s so simple or clear. I think there’s been a lot of nuance and perhaps some blurring of the lines during this promo tour. As long as we are respectful about it and realize that at the end of the day, the only opinions that matter in regards to their relationship are N & L’s, I don’t think some lighthearted dreaming is unheard of. We have to remember, though, that what we’re shown is only a fraction of their true selves, carefully and deliberately curated to accommodate their status as actors/celebrities/those in the public eye. 

(And yes, I know this is the internet and therefore everyone has an opinion - again, myself included. But I struggle to understand why some people think that their opinions should be deemed THE most important to the discussion or would have an impact on any type of outcome, especially in this particular scenario… I hope it’s obvious I’m referring to the very vocal people that chose to expend their energy in hateful, negative ways. Aren’t you exhausted?

However, as a longtime lurker, I have to admit it’s been absolutely fascinating reading all the different perspectives and takes on this too. I think reading other POVs and seeing people articulate points that challenge me and make me think is a good thing - again, as long as it’s all in a respectful manner. 

Also I have spent literal years curating and cultivating a social media bubble that doesn’t make me want to cry or give up on life. I don’t seek out negativity and hate - constructive criticism for a thing is a different matter. It may be “putting blinders up,” but honestly, real life can be a shitty enough place that I would like to spend my limited time online looking at cute things and learning or reading about stuff that makes me feel less alone in the world.)

Last week, I stayed off social media to avoid Bridgerton spoilers until I could watch Part 2. I did open Twitter on Thursday to check on something that was entirely unrelated, saw the absolute meltdown of a shitstorm brewing and quickly NOPED out of it. (I was also reminded of why Twitter scares me at times. And I'm not calling it X because that is stupid.) When I finally caught up over the weekend (both with Bridgerton and… all the other stuff 😅), I felt like I was experiencing mental and emotional whiplash.

Look, ultimately, I don’t know them personally and know even less about their private lives. As an outside observer (even though, yes, I have a vested interest in them), Nicola is fucking amazing and Luke seems to be a nice, sweet guy. I think they are each others support, and it has been mentioned many times that she has helped him deal with the intensity/anxiety of being in the spotlight this season. So here are some potentially hot takes: I just think, when they’re together, it’s like he’s a different, better person. When he soaks up even a little bit of her light (sorry, I had to), I can see all the qualities in him that she is constantly gushing about. But, and again this is my take on it, I also think he has a lot of growing up to do. I don’t know much about his supposed “hot/fuck boy summer,” but it seems to me that he’s perhaps going through his own Colin phase, which he can totally do. I genuinely want to see him and Nic succeed. However, I do think he’s got to get a better handling on his media image now (this whole thing reeks of a PR nightmare, but I need to take off my comms professional hat). The way this has all played out has been, imo, a clusterfuck. There are other issues that I’m also not going to get into at the moment. 

The thing that frustrated me the most is the timing of those “leaked” photos. You’re telling me that N&L went through SIX months of a - literal - worldwide promo tour, building up hype, doing countless interviews and appearances, etc., only to have these pap pictures “captured” on the night of the Pt. 2 London premiere??? And yes, while I’m aware there were rumblings of a gf being at various events/locations, I didn’t pay much attention to it (read: my curated social media bubble, lol). And I think the lack of confirmation up to that point from Luke and his team just mades things even more tricky/messy. So when the inevitable backlash played out online, piled on top of the hate Polin seems to get from many corners of the internet (Is it ship wars? Regular trolls just trolling? Polin and/or Lukola antis? People who, for whatever reason, don’t like the actors themselves or, worse, don’t like the creative choices/decisions made by the higher-ups and therefore deem it okay to spread hate online? All of the above, most likely.), I know I felt like I had been hit by a train.

Here’s my point: I think what should have been a moment of triumph and a joyous occasion for Nic, Luke, and Bridgerton season 3, was sadly overshadowed by the aforementioned shitstorm. And that’s a damn shame. Too many cast and crew put in a lot of time, effort, and blood sweat and tears, to pull this all together. I was happy with Season 3, which perhaps I will deep dive about in another post because this one has already spiraled out of control. Were there things I wished they had included or, rather, things that could have been left out? Yes, of course. But at the end of the day, I think we got a beautiful story led by two actors who love Polin as much as we do. And I cannot wait to see them back for Season 4. Plus, seriously, those viewing numbers alone should have been mostly what people are talking about. I hope all this doesn’t take away from the overall impact of the show and season.

I think it’s okay to be disappointed by all the stuff that has come out over the last few days. I think it’s perfectly human to want/need to process your thoughts and emotions. What is NOT OKAY is sending hate to anyone, period. And I hope you don’t let all that has happened sour your enjoyment of Season 3 and/or Polin.

Lastly, if you take anything away from this long ass post, it’s that Nicola is a GODDAMN QUEEN. Anyone who says otherwise is speaking slander and we do not stand for that in this house. She has carried herself during this time with grace, charm, and poise, consistently and constantly. And she is always ready for a mega fashion moment. She must be exhausted - already on to her next film/job but also perpetually online, and even stepping up to defend her costar. I may have to do a whole separate post just gushing about her and add to all the people already singing her praises. (And as a big fuck you to all the haters.)

Geez Louise, I clearly have a lot of feelings (more than I allowed myself to believe I did…). But I would love to hear what others think! Please, I need friends with whom I can have rational (okay, maybe slightly unhinged), spirited, deep analyses and discussion of this whole thing, or anything else we might have in common!

[lux-ishii]

Episode 6 dropped and love is literally in the air... so let's dive in...

We start the episode with an interesting story of a Romeo and Juliette trope. Specifically, a Captain and a Calamari Prince fell in love and run away together, causing danger of war between their species by doing so.

You may think it has nothing to do with either Din or Bo, but if you read my previous post you already know everything is intentional.

They could put here anything, absolutely anything. A pirate, bounty hunter, escaped prisoner... But they put two lovers who with their actions could bring harm to others. It's not truly a happy story, as the woman said before her love confession:

You see, after rewatching previous seasons I noticed that The Mandoverse likes to foreshadow what will happen in one way or another. Mythosaur discovery was foreshadowed by The Armorer in The Book of Boba Fett, for example. So this story here could be a potential warning, or hint at what may happen to Bo and Din. A Princess with a fleet, and a man who isn't considered a true Mandalorian because of his origin (Axe's words). After this episode, I'm pretty sure that Din and Bo are already in love. However, they didn't take any on-screen action to solidify the things we see between the lines. I do believe their relationship will progress further, and...

They may reach the point where things get complicated just because of who they are. You see the lovers from this episode can foreshadow Bo's or Din's dilemma about what they should do for the greater good. They may fall apart if the cause of their interest won't align, or be on the way.

HOWEVER, it may also be used as a future contrast that despite these odds and differences, they would not give up on what they feel for each other. Which I think would go together with true Mandalorian nature. This season is all about what it means to be a true Mandalorian, which is not just a fight for power. It's about caring for one another, especially a family. Mandalorians are stronger together, after all.

More under the cut!

Can we take a moment to talk about how Din IS JUST THERE?

We were making theories if he will go with Bo or not when the show... literally treats them as one already. Whenever she goes, he goes, and vice versa. Without empty promises, they just do it.

And they "moved" to Bo's ship!

To dig into it further, this episode they were constantly walking side by side, to the point of going thru the doors together too if the space allowed it. You can check out this post >here< with more scenes

Glances.

As I mentioned in my previous posts, this form is a subtle tool for storytelling, yet it can hide a whole ton of meaning or can be truly innocent. This episode is full of glances, specifically put in interesting places and I will touch on those later.

Like this one is innocent, just saying "Where the hell we are?" without words.

I mention in the title of this post that "love is in the air" and here's another indication of it, a bizarre one to be sure as ex imperialist and a democrat fell in love despite their differences.

But... Grogu may be the biggest giveaway here:

We don't see Bo's or Din's reaction here at all, only the enthusiastic cooing of Grogu. I asked myself why? Because he matters too, as Din's son. Grogu could be excited about the couple and how happy they are together. He knows both Din and Bo struggle a lot, and they have dark, rather gloomy lives. What if his father was blessed with a love that would make him happy?

In this episode, we also have the first instance of someone recognizing Bo as a Mandalorian Royalty, despite the fact, there's technically nothing to rule for her. No planet, no people.

An indicator that for the outsiders she is still a rightful ruler, despite her own people not believing in her anymore.

Glances. She is not going to make this decision alone, looking for assurance in Din.

An then, at the mention of her ruling Mandalore again she responds with:

Bo doesn't want to rule Mandalore anymore. A theme that goes on since the beginning of the season. But I think just this episode we got a glimpse of the true reason why those plans truly changed.

We got a great sequence with Good Cop - Bad Cop trope. Bo and Din gave us some Detective AU right here, make it black and white and we get a whole Noir setup ready to launch...

But back to the topic. This was yet another example of how they complement each other. Bo's more soft and rational approach would lead to nowhere or would take way longer if not Din's aggressive and hostile take on the matter, and vice versa.

They aren't only a great team, they need each other.

Glances.

Bo for the first time saw the darker side of Din. We knew he had one, but she's pretty taken aback by his hatred of droids. Nonetheless, it doesn't make her fearful of him.

Quite the opposite in fact

as she becomes his voice of reason to hold his horses. She's not scared he would get back at her with this attitude at all.

They had a brief conversation about his hostility, and I'm glad they allowed Bo-Katan to remove her helmet because what Katee is doing with expressing her emotions is phenomenal.

This innocent sentence awakens a lot if you know where to look. And if not I will just show you.

Glances. After the droid, a machine that can outlast probably generations if maintained properly puts importance on human life, and how short it truly is Bo and Din look at each other, accompanied by a romantic melody.

Devil is in the details, as Bo took a deep breath before breaking contact with Din.

What does it mean? As per usual it can mean nothing, or it can mean a thing, and you know me already, I will talk about the thing. You never know when someone's words might hit you, and I think that droid hit Bo and Din pretty strongly. In this lifestyle, they both share, life is even more dangerous than the citizens of that planet. It's a constant battle for survival. Wars, monsters, your own kind... Everything can kill you if you are Mandalorian.

So they might think that there's no time to waste. An indicator that the actions may be taken soon. A way of saying "Life is short so we can as well live together".

The investigation is a success, DinBo detectives can be proud of themselves for solving the issue, and as they came back to the Duchess with the results, we are once again struck with something. The motives of a man responsible for malfunction have their core in his hatred for the ex-imperial husband of the Duchess. So Duchess Lizzo blesses us with this line:

You see, both Din and Bo have past. And those who know TCW know that Bo's past is terrible. She made huge mistakes when she was younger, and she pays for them to this day.

I don't have a gif here, but at this moment you can see how Bo is moved by the exchange of these words, and you can see it all over her face, as her gaze is running away somewhere else.

Lizzo then recognizes the efforts, Bo and Din made, which put a smile on Bo's face. A rare sign, but it only gets better.

You see, I think Bo-Katan is genuinely happy here because she did something good, and her efforts are recognized.

It's safe to say that back at Kalevala, she was severely depressed. Thinking of herself as a failure that caused the doom of her planet and everyone she loved. Everyone left her, no one cared for her, and she was all alone. Then Din needed her help, and from then she was on a streak of doing good. I'm pretty sure that if not for the helmet we would see her smiling similar way after rescuing Rengar. Here, she not only helped people but also secured an alliance with another planet, simply by doing good, with no corruption or violence needed.

Look how proud she is when Grogu becomes a knight! @ladyzirkonia Already noticed in her post >here< that Bo is happier than ever. And It's absolutely true! We haven't seen her as happy ever before. Not when she was getting a new addition to her fleet back in Season 2, or not even when the Armorer announced she is the one to unite them all.

This leads us adress to the bantha in the room...

Where something important happens.

You see, there were many theories that what Bo's doing with Din is just a long play to challenge him when he least expects it, but this disproved it. And later it gets even more interesting.

You see... Axe is accusing Bo of intentionally refusing to challenge Din. Which would mean her people demanded it from her at some point.

Her refusal could be what lead them to leave, claiming she's weak, not only as a leader but also as a warrior, probably thinking she's afraid of challenging him.

However, Bo's motive may be rooted somewhere else.

Bo-Katan had no problem challenging Axe for her fleet, so why would she struggle so much to challenge Din? It was as necessary as getting the fleet back, so what was stopping her?

But she really didn't have to kill him to claim the blade. We saw it as Din and Paz fought for the Darksaber, and Vizsla is still alive.

(gifs by @itberice) Do you remember what I said about love in the air? Now, look back at the Captain and the Prince from the beginning, and Duchess Lizzo and her ex-imperial husband. Do you notice the similarity?

Bo-Katan stands up in front of so-called Mandalorians, that are ready to outcast someone like Din, just because his blood is not Mandalorian enough. Just like Lizzo stood up against Commissioner in defense of her ex-imperial partner.

Again @ladyzirkonia made a great post >here< saying what I'm gonna mention.

This is a great sign of what kind of leader Bo is going to be. She walks both ways, she took her time to understand Din's perspective, and because of everything that happened, he is the one who showed her The Way. The right one.

He let her understand what it means to be Mandalorian, and it's not the blood, but the heart and faith of a warrior.

Din Djarin, with all his adventures, made Bo-Katan the person she is now. And she is really fond of him, to the point of standing in his defense, even if before she was among the people who laughed at him.

I know everyone has mixed feelings about the Darksaber, and I fully myself don't sit right with it either, BUT it happened, and I'm here to make surgery on the symbolism here.

I know a lot of people think if Din gave the Darksaber like that, make it look pointless...

But I beg to differ.

You see, the Darksaber for Din and Bo actually lost its value. For him, it was a burden, and for Bo-Katan a symbol of everything she lost. But for everyone else? It still was a symbol of power.

I may sound here like I'm trying to defend the outcome, but I rather like to think I'm just taking a different perspective on it.

Hear me out, the point of Din getting the Darksaber maybe never was to show him as a potential leader, but rather put him on his path with someone who will make his life... better.

The Darksaber is something that put Din and Bo-Katan on the same way. A catalyst for everything we saw this season. Nothing of it wouldn't happened if Din didn't have the Darksaber. Just think about it, if in season 2 Bo got the Darksaber from Gideon, she would have her fleet, and wouldn't rot in her sadness on Kalevala, so there would be no one to save Din on his way to redeem himself. Giving this one sample to just show how big of a butterfly effect we are dealing here with.

So as much as I don't like the way the Darksaber was claimed, I truly don't think it makes everything pointless. For me, quite the opposite really. It's the reason why everything we see is happening.

[cryptid-intraining]

Thoughts about the Mexican GP and the season so far.

Very happy at yet another Ferrari win, would have loved the 1-2 but I'll get into that. Any points taken off Lando is great in my books and it's starting to look like McLaren is now at risk of losing the WCC as well if Ferrari keeps this up.

As a Max fan, he absolutely deserved those penalties but I think anyone complaining about how unfair it is, is being silly. He did the move, got the penalties. That's fair. Fucking around and finding out is a gamble all drivers make at some point, sometimes getting those penalties is a price they're willing to pay.

My biggest issue with the narrative and criticism Max has been getting about those two incidents is that it was sloppy driving. I think Martin Brundle called his second move a "red mist" moment and I think in light of what Max has said about the incidents, that is just untrue. I think it's fairly clear to see it was a calculated decision that Max made as soon as he realized that the RB20 did not have the power to hold the McLaren behind. In his own words, without the penalties he may have ended up ahead of the Mercs but Lando probably would have won the race.

He dropped a possible 13 point loss to 10. That's a championship move, that's how you win the WDC. Race wins and podiums don't matter to Max at this point clearly (yes he would prefer to be winning, obviously) his goal going into every weekend is just about finishing higher than Lando or as close to him as possible. That car does not have the tools for him to go offensive and outscore Lando every race so of course he will do anything in his power to ruin Lando's races and slow him down and get in his way. It's strategy.

And dragging that car back from 20s of penalties to P6 was a feat in and of itself, especially if you look at the races that Perez and Piastri had. Especially Piastri, considering he had the whole race and superior machinery and ended up in P8, behind Max and KMag. Really not a good weekend from him overall.

Onto the Ferrari's. I honestly don't know what to say, Carlos was incredibly strong all weekend, well deserved win. But once again it feels like Ferrari sometimes really struggles in managing to bring home a 1-2. They're often too afraid of their drivers fighting out front which is fair but asking your other driver to lift and coast every five minutes or so was a ridiculous call that cost them the 1-2. You cannot LICO on hard tyres for the majority of a race and keep temperature in them, which makes you lose grip and nearly crash as we saw. Charles was very lucky and very quick to catch that snap before it put him in the wall.

Not taking away from Carlos' performance because he was just the quicker driver that weekend but once again when he comes under pressure from Charles he tries to get Ferrari to pull team orders. It's something he has done time and time again and it gets a bit frustrating to see. If team orders had not been established prior to the race, he had no grounds to come on the radio and comment on Charles closing the gap in the first stint. If I heard that radio message without context I would have thought Charles had dive bombed him or something, it was ridiculous.

Now, I know Carlos was asked to lift and coast too but I think in context to Carlos' radio message and the weird atmosphere between them after the race (could be reading into) I don't think Charles was particularly happy with the strategy.

And finally McLaren. I think we are so wrapped up in the hype of having such a competitive season that we're not seeing what this year is going to end up being for McLaren and that is: disastrous. They've been so shockingly indecisive this whole season and I think if Ferrari keeps this performance in the last leg of the season it is going to cost them the WCC as well because they've just been acting like they've got it in the bag and I think that's the key difference in attitude between McLaren and Red Bull, to some degree Ferrari too. Max himself has said it, even if he's 50+ points ahead he's not going to let Lando pass him easily because that's not how you win. Dropping your guard and thinking you're safe is how you lose, coasting to a win is how you lose, if that was how Max Verstappen raced he wouldn't be a three time world champion and he certainly wouldn't still be 47 points ahead.

But it feels almost like McLaren are just assuming that the WCC is safe because they have good drivers and the fastest car but I think there is a possibility they're going to walk away with nothing and it's going to be very embarrassing for them because everyone expected immediate performance from their drivers once given a championship car, that's what everyone has been saying about both Lando and Oscar for the past few years, that they're championship material and they just need the car.

I don't disagree, I think they both will get a WDC eventually but it's put them both on these pedestals of performance that they've just been unable to live up to yet. Lando has not been consistent, he has shown he has a long way to go in terms of wheel to wheel battling and needs to improve his ability to make calls and strategy decisions on the track and Oscar has to be more competitive in qualifying if he wants to pose a threat to Lando.

And the team needs to pull it together if they want to win. Stop asking your drivers so much, don't let them call all the shots on strategy because it doesn't work. Sometimes when I hear their radio messages I actually start to lose my mind because why are they having full conversations? It's too much information for too little. Drivers should never be that involved in the strategy, it's distracting for them and shows everyone else how little faith the strategists seem to have in themselves. It feels like they're improvising as they go.

All in all, I think this season is going to do more for Max's reputation than any other championship season he's had. 2023 was dominant and incredible but people will always just say he had no competition and therefore it means nothing which is an insane thing to say about the most successful singular season in the history of the sport, 2022 for some reason people just write off. Once again, they'll just say he had the best car so of course he'll win, and 2021 is obviously fraught with controversies that overshadow what was objectively a brilliant season for Max. But 2024? It's showing that he does not need the fastest car to win. Not even the second, but the third fastest car (at points the fourth) and he's still 47 points ahead.

It's brilliant. Hasn't won a race in months and he's still winning. In a car that at points didn't even turn, with an engine that seems to want to fail every other weekend, with a practically non-existent teammate, and a team that feels like it's falling apart around him.

But it's just the car. Okay, so where's Lando? Oh, right, 47 points behind.

See you in Abu Dhabi.

[pandagalo]

[PJO SERIES EPISODE 1x08 COMMENT]

What an amazing episode!!

Starting from the RECAP: Poseidon speech as we relive Percy's quest is amazing, not just a montage of what has happened, but actually video editing to tie all together!

Annabeth confused about Kronos, great continuity.

THEY ARE IN MONTAUK. Poseidon is right by his side in the exact place where he met Sally! I know it was for time and budget, but it's a change that I personally L O V E.

WAIT, YOU PUT PERCY'S TRAINING WITH LUKE THERE? AND YOU MIRROR THEM AS IF YOU PUT THE TWO SHOTS TOGETHER THEY ARE POINTING SWORDS AT EACH OTHER. WHAT?!

Fight with Ares check: Percy easily overpowered, he finally has confidence in his powers and distract Ares as he hurts him. Of course Ares thinks Percy is going for the head. Ares thinks everyone in battle wants to kill the other, Percy used his brain and went for the ankle.

GOLDEN ICORE.

ANNABETH'S NECKLACE.

Now to Zeus. That sequence is absolute PERFECTION. We saw kids acting most of the time, now we got two adults that just DELIVER with their perfomance. Zeus is scary, has authority, HE IS A GOD. Poseidon portrayal is such a loving father, such powerful emotions and acting. They killed the scene, I couldn't stop smiling from how good it was.

"DO YOU EVER DREAM ABOUT MOM?"

Now to the Luke scene. Percy figured it out, but this time it was too late. He was already alone with Luke in the forest and was recalling the prophecy. The scene is masterfully portrayed, Luke tries to recruit Percy, only for him to have developed trust in his father, which push him to try and change Luke's plans. But when he mention Hermes, the fight starts.

PERCY APOLOGIZES WHEN HE HURTS HIM. He wasn't being serious, he probably thought it was like sword practice, but this time he didn't have a wooden sword. It's only when Luke hurts him that he understands how grave is the situation.

AND ANNABETH SHOWS UP. Because she had the same thoughts as Percy. She emphasized that they needed CONCRETE PROOF. Something wasn't quite right. She actually followed them with the cap. And when Luke harmed Percy, she understood that they weren't getting their friend back. And Luke couldn't bear her seeing him like that, and he escaped.

MR. D WHAT A SWEETIE PIE YOU ARE.

Gabe wasn't portrayed as abusive and bad as the book, if it was Sally to petrify him it wouldn't have sound right. BUT TO POSEIDON TO DO IT? To send back the Medusa's head, knowing Gabe would have opened their mail? To Poseidon to actually save Sally? (Friendly prophecy reminder: "You will not save what matters the most" in the book is about Percy letting Sally use the Medusa's head on Gabe, it isn't Percy who saves his mother, but herself)

GROVER GOT HIS LICENSE. Well, it's not actually that they never checked the sea, it's just no one ever returned. But probably no one knows it.

In the end, loved the episode and the show. Episodes 7 & 8 REALLY sold it to me. In my opinion, it went from a 7 to an 8/8.5 just because of the last two episodes. I'm really excited about Sea of Monsters, I don't think they will have any problem with the green light for Season 2, as the show is a success and it deserves it.

[vampire-exgirlfriend]

So I’m just going to say it, understanding that people are not going to like it and will in turn, make that my problem. 

There is a right and a wrong way to engage with media. That is actually an inarguable fact. And there is specifically a right and a wrong way to engage with Fire & Blood/House of the Dragon. I feel like the divide between history geek tumblr and lit geek tumblr is only as obvious as it is because I spent years actively engaging in these conversations outside of the internet when I was having my ass handed to me in male-dominated academia. You cannot dismantle or properly critique F&B/HotD from a historical standpoint. It is not a history book. The only accurate way to critique this media is through the viewpoint of literary analysis - and there is plenty to critique through that lens! All media is imperfect, that is the point. The author’s preferences and icks and whatever else will shine through in their writing and opinions, which is what drives (or should drive) these conversations. 

We see so many people coming through taking F&B and holding it up to this idea of “this isn’t how it happened in history/the real world so I must fix it,” which is very much an interesting conversation, but not the one to accurately judge the writing through. It doesn’t matter that Empress Matilda was fighting her cousin for the throne during The Anarchy. Rhaenyra is fighting her brother and George outlines his clear preferences in the text - which is where people start losing their fucking minds. It’s fine that GRRM has a preference for a specific side of this family. You don’t have to agree with him! His whole schtick in the ASOIAF universe is magical women and succession crisis. We see it over and over with Visenya and Aegon, with Maegor and Aenys, with Rhaena and Aerea and Maegor, with Rhaegar and Viserys III, with Dany and Jon and Faegon. And the focus on the historical accuracy in regard to the time periods that inspired certain events in his story takes away imo from the real conversations that could be had about this content. Rhaenyra represents magic in Westeros (her fertility, her dragon’s fertility, etc), while Alicent and the Hightowers represent the active suppression of magic in this universe (the faith of the Seven being an obvious representation of the catholic church, the obvious church vs paganism element). At its core, ASOIAF is a story about magic! It’s fantasy. It’s not history porn. These conclusions can only really be drawn when you start engaging with the material from a literary standpoint as opposed to a historical one. We’re not meant to strip the magic away from this story - the magic is the story.

GRRM’s work is catnip for history nerds, and as a history nerd who is friends with tons of history nerds, and it’s so fun to discuss the intricacies of our history vs the history we see in Westeros. But to use history to tear apart the work and claim that GRRM is plain wrong for writing it this way is not what this should be about. This isn’t a historical text, it’s a fantasy series. GRRM gets things wrong and as an author asks “look the other way because this is fiction.” We can’t hold the events of the Dance to a historical standard because GRRM created the laws and traditions of Westeros as their own thing. Viserys was not breaking law by naming Rhaenyra heir, just as Jaehaerys was not breaking law by letting a bunch of feudal dork lords name his heir. They were both simply going against tradition and the consequences of those choices is what makes it fun. Embrace the whimsy, people. 

And then we have the introductions of headcanon as gospel. This is something that is absolutely rampant in this fandom (that’s what happens when you have two years between seasons and very little promo and people start getting bored and feral). Headcanons are fun. We love them. In a fandom that’s pushed forward during the drought by fic, they abound! But they aren’t an accurate way to judge and measure the canon material. So many people are falling into the boredom trap of a few BNFs pushing their headcanons in fic (which is the place for headcanons). But to take headcanons over canon, over the information that the original author has given us is…well it’s not fucking cool and it doesn’t help. It actively tears apart the fandom and grinds to dust any conversation we can have about the canon material. Canon is where the blorbo comes from, canon needs to be considered above the fun headcanons that are birthed in the boredom. You want to blame all the bad things on Daemon because he’s 100% evil and nothing but a menace? Okay, well, there’s no canon basis for that. You don’t have to like him, he can just be GRRM’s special little boy, that’s fine! But that is a headcanon and not based on the canon material. You blame Alicent for everything that happened in the Dance because she’s a proto-Cersei and it’s all her fault. Well, okay. Again, no basis for that in the text or the show. You’re actually crying on your lunchbreak over the idea of Aemond potentially betraying Aegon in s2 because your special boy that’s been manufactured in the fanfic factory would never. Well, F&B says differently. And the level of upset that comes when people disagree with these takes is just getting batshit bananas because we’re all understandable desperate for content. 

You have to have an understanding of the canon material. Without it, what are we even doing here? An understanding of how to engage with any kind of media is necessary. And guess what? It doesn’t take the fun out of it, it just lends to a deeper understanding of the themes that GRRM has been playing with for over 30 years at this point. And those themes, not just the history they are nebulously inspired by or the blorbo that gets you hottest under the collar, are the basis for the material we love and deserve to be treated with respect. 

Tl:dr ignoring canon in favor of history porn or headcanons is lame and irresponsible. No one can stop you, but we can judge you. 

[humbledragon669]

S1E6 – The Very Last Day of the Rest of Their Lives P4 - from the departure of Shadwell and Madame Tracy

There are just under 10 minutes of this episode left at this point, so I’m hoping I can get this season pretty much wrapped up in this write up (not counting the write up of the opening credits, or the couple of bits I’m intending on doing around the book. Oh, or the work I’m intending on doing around the deleted scenes in the Script Book. Or on identifying differences between the Script Book and the end result. So y’know, so close to getting season 1 all wrapped up…). If I forget by the time I get to the end of it, I’ll just say thank you for sticking with me – I hadn’t really intended for any of these write-ups to be as comprehensive (waffling) as they are, but here I am, 64K words later, not even finished the first season. So, yeah, thanks and other such affectionate gratitudes.

There’s something to be said about Gabriel’s idea of what exactly the “greater good” is. He still seems to think that the “greater good” is little more than winning the argument against the legions of Hell, which seems quite ridiculous: imagine holding the outcome of an argument in higher regard than the consequences that the event of said argument would have. But then I suppose that’s largely what war is – two parties adamant that they’re right, trying to force the other to concede. We as the audience are likely to see the preposterousness of Gabriel’s stance in this particular instance because the consequences include the obliteration of the entire human race and the planet that they reside on. Still, the principal is the same, and ultimately I feel like world peace is entirely possible, in both the show and in real life, if people simply respected the right to an alternative point of view.

We also see the recurrence of a running theme in this scene – the idea that “what” you are defines your nature by default.

Don’t talk to me about the greater good, sunshine. I’m the Archangel Fucking Gabriel.

This statement is something akin to stating that all hedgehogs must, by default, be irritable (or… prickly… *tumbleweed* I’ll get my coat), and in fact we have come to understand that this ingrained attitude as to what constitutes a “good” or “bad” could actually, in and of itself, be construed as a “bad” quality to have, and that being capable of seeing nuance is an inherently “good” quality to have. The irony of that statement is almost philosophical, isn’t it? Still, we get to hear John Hamm use the F word, possibly proving that Aziraphale’s reluctance to use it isn’t necessarily because he’s an angel (which just hammers all of that point home even further).

Let’s take a quick look at a couple of things we see from Crowley (as Aziraphale) prior to his entering the Hellfire. Firstly, his use of the phrase “for Heaven’s sake”.

It’s a little different from the last time we saw Crowley using the same phrase.

I don’t know whether this much easier delivery of the same phrase is because he’s in Aziraphale’s body (issued to him by Heaven) or if he’s having to exercise a monumental amount of restraint as he says it. It doesn’t look like the latter, but he’s been doing a pretty good job of keeping his own mannerisms under control up to now, so why would this be any different? After all, the Hellfire reacts to the being that inhabits a body rather than to the original source for that body, so you’d think this principle would apply for other matters to.

The second thing I want to take a look at is this glance Crowley (as Aziraphale) takes at his captors before he steps into the Hellfire:

It’s so beautifully knowing. He knows full-well what’s about to happen as he steps in the column of flames: absolutely nothing. He’s checking in to make sure his cover is still intact before he takes his leap of faith.

There’s an interesting difference between the reactions from Heaven and Hell in the aftermath of the punishment being applied. Both parties are, understandably, terrified. Hell’s assessment of the situation is that Crowley has “gone native”, even going so far as to say he isn’t one of them anymore (I don’t really think he was ever truly “one of them” though, was he?). This is an accusation we have heard before, not always so explicitly stated, levelled at both Aziraphale and Crowley by their respective employers. In this instance, we are to take it that they think he has become human, or at least more human than demon. I don’t think the Heavenly hosts would be able to come to the same conclusion – presumably a human would be consumed by Hellfire just like an angel would. It’s my belief that their assumption, based on their accusation that he is a traitor to Heaven and therefore siding with Hell, is that he has somehow converted to a demon, or that he is on the way to becoming one. I find this difference interesting, as it suggests that, whilst Heaven still firmly believe the antithesis of their agenda lies in Hell, Hell in turn believes that the worst thing a being could possibly be is human. Stripping all of the philosophy and theology out of the situation, what’s important is that neither Heaven nor Hell are aware that a body swap scenario was a possibility, and both believe there has been a fundamental change in their accused.

I also find the individual responses of Crowley and Aziraphale (in their respective other half’s body) to the outcome of the punishments to be rather charming.

There’s something really special about knowing that, despite the work they’ve both done to make sure they’re acting as the other one would, they cannot help their true personalities from coming through when they’re enjoying themselves: Aziraphale (as Crowley) playing the situation with his intelligence and resulting wit, and Crowley (as Aziraphale) choosing instead to strike fear into his captors with harmless mischief (rather like we saw him do to the paintballer at Tadfield Manner).

Let’s talk Michael’s reaction to seeing (Aziraphale as) Crowley in the bath. Subtitle capitalisation is taken from the Script Book, rather than being my own emphasis.

I know I’ve seen this discussed in other posts, so I won’t dwell on it too much, I just wanted to acknowledge that firstly there is a definite question mark over the use of phrase here. Is it just an exclamation or is there something more subtextual going on? I vote the latter because… well because I’ve watched the show really. And I don’t think the scripted words are ever used without thought to their meaning, overt or otherwise. Secondly, this isn’t the first time we’ve seen a verbal reaction to Crowley’s presence containing the “L” word. Remember Paris, 1792?

Did I just use this tiny scripting point to so I could revisit that incredibly hot look Aziraphale gives Crowley in the Bastille? 100% I did. Sue me. However, there is an important difference here that the angel also uses the word “good” in his exclamation. I don’t think Aziraphale has ever truly considered Crowley to be anything other than at least a little bit good, so that does make a lot of sense.

Theirs is something of an odd paradox in Anathema burning the second volume of Agnes’s prophecies, isn’t there? Because Agnes, being the incredibly gifted psychic that she clearly was, should have foreseen that the copy given to Anathema after Armageddon is averted would be burned. So why send the box at all? More importantly, is there perhaps another copy that she wrote and kept somewhere else? There is a nice symmetry in Newt helping Anathema to burn the pages though, seeing as his ancestors have a history of burning her actual family members. I’m sure it’s meant to be symbolic that he’s present for the literal burning away of the things that tie Anathema to the past, and I can’t help but feel like his own unpleasant ancestral ties are being erased at the same time.

There is so much tying up of subtextual ends in Adam’s final scene, it’s rather difficult to know where to being. Let’s first address the non-so-subtextual confirmation that, at this point in time at least, he has retained some of his powers.  

We have a few more hints at the idea that people are forgetting what happened the day before, firstly when Wensleydale asks Adam what happened, and again with this line from Adam:

Tomorrow will be alright. They’ll have forgotten by then. They always do.

Then there is, of course, the reference not only to a garden, but of having to leave it, and that his leaving would be the result of a choice he makes to right a wrong. The informed choice that Adam makes here forms the ending of the book, and serves to prove God’s prophecy from the beginning of episode one:

It starts, as it will end, with a garden.

Adam’s choice to leave the garden is, without doubt, a comparison to the departure of Adam and Eve from the original Garden of Eden. The difference here is that they were forced to leave because they chose knowledge and free will, whereas Adam leaves through choice because he already has free will. The parallels between the two situations don’t stop there either – Adam (Young) is next to be seen taking an apple from a tree, which he is forbidden to do (because it’s not his to take. Technically stealing I suppose, but hey, he’s the ex-Antichrist, he’s done worse) after he leaves his own “garden”. He takes it willingly, and of his own accord, rather than having been tempted as Eve was.

We also hear God telling us that Adam has an awareness that “something” was ending. I think it’s likely the “something” being referred to here is the innocence of childhood, particularly as he has now been made all too aware of the potential cruelties of human nature. And lastly, we have a pretty strong statement being made, not only about the idea that knowledge should never be considered as being owned and should always be shared, but also that the cost of the acquisition of knowledge is always worth the sacrifice it took to get it.

He couldn’t see why people made such a fuss about people eating their apples, but life would be a lot less fun if they didn’t. And there never was an apple, in Adam’s opinion, that wasn’t worth the trouble you got into for eating it.

Quite beautiful really. That previous scene being the last we see of any of the characters other than Crowley and Aziraphale, we join the main couple in a park. By now it should be blatantly obvious that something is very different about both of them – their voices, speech, and (most obviously) postures are complete opposites of what we’re used to seeing from them. Crowley sitting bolt upright with his hands clasped in his lap whilst Aziraphale’s slouch is so severe it looks like he poured himself into the bench. What I love about this is that we’re being shown the extent to which both of them have had to fight to hide what comes most naturally to them. What’s even nicer to see is that they drop all hint of pretence now that they’re back in each other’s company again. And just so we can see how perfectly David and Michael are at copying each other, just observe how little movement there is between the before and after body swap reversal in their postures.

They each managed to set themselves up to sit like the other pretty much exactly. Very impressive. And of course, the red collar is back, which Crowley (as Crowley now – thank goodness I don’t have to keep writing those confusing sentences out anymore) actually draws attention to. It does make me wonder if the only purpose of the tartan collar was to have something tangible that could be pointed out after the fact. The change in tone of voice, speech, gait, and behaviours could be argued as objective, but a piece of material that’s a completely different colour? That can’t be argued as being fundamentally different from the norm. And it’s subtle, which I don’t think could have been achieved with something about Aziraphale’s outfit (for instance, changing his bow tie from tartan to red).

I think it’s so telling that it takes the pair of them next to no time at all to settle into their old comfortable ways. Aziraphale for instance, can hardly keep his eyes off Crowley once they’re restored to their normal bodily states. In fact, he’s back to flirting at the first opportunity. Check out this gorgeous little side eye and gooey gaze:

And he’s so desperate to tell Crowley what he did that was so clever. Almost like he would pop if he didn’t tell someone about it… We will of course later come to find out that this little personality trait is apparently one of the only reasons that Aziraphale calls Crowley, so it’s actually quite nice to see that this behaviour isn’t something he limits to interactions that aren’t in person. What his anecdote from Hell does tell us is that they do not have any access to the memories that were made in their own body during the body swap – they apparently go with the essence of the being that inhabited the body at the time the memories were formed.

I do not believe for a second that Crowley’s mention of “leaving the garden” is simply there to wrap up the story line. Both he and Aziraphale will be well aware of the connotations that go along with that statement, having been present when the original residents of the original Garden were forced into the wilderness. And whilst there’s a feeling that the angel and the demon are also wandering into the wilderness, they are doing so under their own free will, which they have actually been exercising for millennia. The difference now is twofold: firstly, they have no intention of returning to the false promise of safety that the garden (aka affiliation with a Heavenly or Hellish authority) proffers them. Secondly, their free will, and their choice to exercise it, is no longer forbidden, and whilst both Heaven and Hell may not approve of their friendship, relationship, or any other consequence of their free will, they no longer have any authority over them. They have in a very real sense of the word, been set free. Leaving the “garden” is really just a metaphorical way of them stretching their wings (no pun intended) before taking full flight into their newly gained freedom.

Ah, wasn’t that all really beautiful? Well, don’t get used to it, Crowley’s about to lower the tone.

Did ya see it? Let me see if I can make it a bit more obvious:

Maybe it’s me and my dirty mind, but that invitation to lunch looks like it comes with a much more personal invitation from Crowley… I mean, even if we disregard that fairly blatant “presentation” of what’s on the menu for Aziraphale, let’s remember that it’s my belief Crowley enjoys watching the angel eat. And yes, I do believe that watching Aziraphale eat is a sexual (or perhaps sensual) experience for him. So him asking the angel to go to lunch with him is far from an innocent invitation in my opinion. That last point is perhaps underlined by Crowley’s use of the word “tempt”, which he would have historically done to lessen or destroy the innocence of others. And Aziraphale has absolutely no hesitation in taking him up on the offer. So absent is his hesitance in fact that it seems to me that his acceptance of Crowley’s temptations is something he is very used to doing. *wink wink, nudge nudge*

It's my view that we would be foolish to think that this lunch at the Ritz is anything other than a date. We know that this is one of the things Aziraphale suggested that they do in that awful car conversation in 1967. We know that they have been there before on at least one occasion. Aziraphale’s choice of venue tells us everything that we need to know about things between the two of them being set to rights. I’m sure Aziraphale knows that his offer comes with un underlying offer of peace between them, and when you see Crowley’s reaction to the offer, I’m pretty sure that he knows it too. He looks impressed, a little surprised, but most of all, happy.

I don’t think I need to go over the song used in the soundtrack here. I know I have written a lot of words about this season, but I think that my running word count would look pretty pathetic if we were to count up all the words written about the choice of “A Nightingale Sang in Berkeley Square” being played at this particular point in the storyline. So let me simply highlight the particular part of the lyrics that make it the absolutely perfect choice as the closing song for this season:

There was magic abroad in the air There were angels dining at the Ritz And a nightingale sang in Berkeley Square

Right, that’s that addressed. Despite the fact that there are less than 2 minutes left in this episode, there’s still so much to talk about.

Aziraphale’s furtive glance at Crowley before the champagne is poured; the loving gaze he gives him to assure him that his assessment of him being a “good” is meant in love and not in animosity; Crowley’s acceptance of the compliment with his own look of resignation; Crowley’s loving gaze as he awaits the angel’s response to being told he’s a “bastard”; Aziraphale’s acceptance of the return compliment suggesting that it might just be the best thing anyone has ever said to him: all of these things are enough to melt my heart, but they are NOTHING compared to this:

Or perhaps, more precisely, this:

I said Aziraphale couldn’t take his eyes off Crowley, didn’t I? That lingering gaze he rests on his demon’s face after the toast is complete genuinely makes my stomach flip. It’s beyond gorgeous. And it would be horribly remiss of me not to talk about the toast itself. Aziraphale proposes they toast to the World. On a surface layer, this would appear to be in reference to the fact that they have just saved it. But. But. They look each other in the eyes when they’re actually making the toast. Because they are each other’s world. It might have sounded like the toast is in recognition of their part in saving the world, but really, it’s to them. I appreciate that this is probably going over old ground, but I need to get it written down so that the words can stop going around my head.

I do want to do a tiny bit of backtracking to look at the way that they compliment each other on being “good” and “bad”. It does not escape my attention that Aziraphale refers to Crowley as “a good person”. Not simply “good” or a “good demon”. A good person. I think this follows up on the conversation that they had with Adam in the time bubble, that they now think of themselves as closer to humans than to their respective ethereal beings. Not only that, but there are no more arguments between them about being a little bit good, or a little bit bad. I think this probably applies more to Aziraphale than to Crowley, but they’ve come to the full realisation that you don’t have to be all “good” or all “bad”. And with that realisation, comes the knowledge that each of them having their own “good” and “bad” qualities actually make them a better partnership, because they compliment each other so beautifully. They “cancel each other out”, as Crowley so eloquently said. He was only about 1000 years ahead of Aziraphale on that one. But most importantly, it’s the supposed “flaws” in their characters, the bits they’re not supposed to have, that actually interest and attracts them to each other.

As we leave our beloved pair, we see one last act of affection from each of them.

It’s so subtle. Not only does Aziraphale reach for Crowley across the table, he switches the champagne glass to his other hand in order to do it. He places the glass next to his right hand so that the hand closest to Crowley will always be free, presumably in an effort either to flirt with its presence near to something of Crowley’s (mind out of the gutter please, this is the Ritz) or to actually make contact. And Crowley’s returns the gesture with silent attentiveness. It’s so charming to see him just watch Aziraphale babble away, fixing his gaze on the angel’s face. At least that way it won’t be weird when he deliberately stares at him whilst he’s eating…

I have one last thing to say about this episode, and it’s actually about a character that we have been acquainted with from the very beginning of the show, yet observe so little about. It’s God. Sounds like a pretty bold statement about religion in general I know; it’s not meant to be. I’m not about to go off into some sort of religious diatribe about how the voice of God has been guiding the audience through the story blah blah blah (did I mention I’m Pagan?), I merely wanted to point out that God has been narrating this last part of the story of the demon and the angel that are in love. Does she sound disappointed or unapproving at all? She really does not. In fact, it sounds like she’s pleased. And when she talks about the nightingale in the Square, she sounds a little smug, proud almost. It makes me wonder if this was her way of blessing the partnership. And if she’s blessing it, doesn’t that mean it was all part of the Ineffable Plan in the first place? I guess that might come to light in season 3, but for now we’ll just have to wait and see…

You know the drill by now. Questions, comments, discussion: always welcome!

[blacclotusss]

And That's the End of It. There's Nothing Else

The End of an Era

And that's the end of it...literally. It's bittersweet to see this show, or should I say book, come to the end of its rope. Firstly, this show has become one of my favorites in the past year and a half and I wish I could shout from the rooftops about how much it has changed the way I view a number of things in life. Also, despite the annoyance of this fandom space, I have met so many beautiful spirits who are just as insane about the show as I am and I'd like to say that I have made some lasting connections. Now, onto discussing everything about this finale. 

Louis

I just want to go on record and say that my love for Louis has never gone away. Everything about him from the way he dresses to the way he loves those around him has embedded him in my mind as an all-time favorite character, and of course its thanks to Jacob for breathing a new life into the character. With all that being said, it should come as no surprise that Louis was my favorite part of the finale. The many ways in which Louis shows his rage (and any emotion, really) are astounding, and it's interesting to see the similarities and differences of it in New Orleans and in Paris. In Paris, it's more severe because of the location and the reasoning. Paris was slightly more inviting and welcoming than New Orleans so we hadn't seen him as on edge and pissed off with those he's had to interact with as much. Again I sawy slightly because we can still see the racism in certain comments and those plays. But, his anger and rage is fully ablaze when it comes to Claudia and the way she's being handled. He was able to set ablaze an entire beloved theatre (and its vampires) without the guilt he felt to that at the end of episode three in season one.  

I do, however, think it's also a combination of the fact that Louis is always a step behind and a bit too late and this is how his emotions are come out similarly in both seasons (in regards to Claudia). He'll wait it out until it reaches the tipping point to then do something and that did make me frustrated with him in this episode. Like yeah, let's burn it to the ground, but baby you should have been on this when Claudia came to you about Armand and that coven earlier in the season.  

With all of that being said, I am proud of Louis for finally getting away from everyone else and focusing on himself. I absolutely loved him going back home and seeing how much the city changed since he was there. That little interaction with the Uber driver was the cutest thing ever and something that I had missed in the previous eight episodes. What I mean is that this was such a Black moment from the comfortability between the two and the subject matter of the conversation. Someone tweeted that they missed how unapologetically Black season one was and I hadn't realized what was missing until I read it, so it was nice to have this little moment here. And, in my opinion, Louis looked his best here at home where he now has a better understanding of himself and has lived. Now, I do think another setting other than Dubai could have been good for him, but I love that he's being watched over by his family (Claudia and Paul) and can have a bit of peace now; and that's all I could ever ask for with Louis. 

Louis & Lestat

Two words: Fan service. You can curse me out all you'd like, but you cannot convince me that this little "reunion", even the moments Lestat were present in Louis' mind were purely for the book fans. We all knew Louis was not going to be able to let Lestat go quick, but it's weird and questionable to have Louis in a new space claiming that he's finding himself and getting into this new relationship with that man still floating around. What is his reason for being there other than to appease to the masses? Back to the reunion, nothing about it moved me. This man claims that he cannot get Claudia out of his head and I hope she continues to haunt him for the rest of his days. I don't believe that "daughter" crap for one second because he still listened to that bat signal and skipped on over to Paris to watch her die. When he had the opportunity to save somebody, he let her die. I don't buy it and I wish they didn't have Louis buy it either because yeah, he saved you, but he still let y'all daughter die when he has that ancient blood in him. I'm sure deep down Louis wanted her to live a happy life and yet he's hugging one of the people responsible for it. He still chose you over her, Louis. Come on! I'm just glad Louis ended up by himself and not back with that man. Oh! And the little redemption arc they're trying to give him with saving Louis and the season one revisits...it's not working! 

Louis & Armand

...I'm confused. This relationship has had me on the edge of my seat the entire season, all for it to come crumbling down like that. I just want to know what the purpose on this relationship was? Their sweet moments, both in Dubai and Paris, where adorable. It was like watching high school sweethearts grow older together. But, when you get behind the curtain you begin to question what it really was beyond sex. The sweet moments we see in the beginning of the season has Louis with his mind clouded with Lestat, so was he really into Armand for who he was? Or was he just a placeholder (I hate the idea of this)? And then once Louis washes him away, those moments are limited and it goes downhill from there. In Paris, it just seems like their relationship was out of convenience. And then in this episode it's revealed that the whole "we've been together 77 years" thing was basically a revenge plot...*head scratch*. So I ask again...what was this relationship for? To move the plot along? And it's clear from interviews that no one talked about this as a collective as everyone's answers are different. Even if there are differing opinions, there's usually one cohesive answer. But, I guess I'll just have to take what the creatives have given. 

Armand

Girl...what are we going to do with you? I haven't read the books so I will just have to judge the character as he is on the show, but I have talked to some people who have read and some of the things they've noticed are the same that I have noticed. But, it seems like Armand has little to no characterization throughout this entire season once you really look at it. Yes, he and Louis were able to explore things in their relationship (especially in a sexual nature) but that's really it. He's still the same menacing coward that we meet in episode two in Paris. Did I think that Armand was going to turn his back on that coven? No. But, I also think that unnecessarily explodes beyond fixing. Him being apprehensive about leaving the coven after centuries is on brand. However, that mixed in with directing the death of his lover and his sister, deleting memories from his lover's mind, omitting information in multiple decades, etc. doesn't seem crazy to anyone but me? It smells like the big R, but I'll just keep my mouth shut on that for right now. Maybe we'll see more of this character in future seasons (don't know if I'll be there), but yeah his characterization was just...eh. It seems like he was just there to wreak havoc and I know he's more than that. It's okay to have a villain, but make them make sense.  

Finale Thoughts

I am quite grateful to be alive in a time where there are three lead actors of color in the fantasy genre as well as playing queer characters. I don't know when I'll see it again, so this show and season will be in my heart forever. And, I'm hoping to see Jacob, Delainey, and Assad in more things as the time goes on because this cannot be the end. I won't give for it! And I want them as the leads with their faces plastered everywhere. The show has breathed a new life into me and now I'm excited to watch good television again. The writing, acting, the directing, etc. has been phenomenal so far and I'm sure it will continue to be. However, certain things besides what I talked about above seem like they were there for plot. I will simply blame it on the fact that there wasn't enough time to flesh things out the way they should be so it falls flat in some areas. Now, it seems like season three will be focused on Lestat and right now I don't have anything really keeping me to continue the show. Maybe as the season approaches there will be something to interest me enough to watch. It was a great time with you all (especially the ones I've become close with)! I'll still be around reblogging posts about the show and writing, but this is my last meta post. See ya'll around!

[silly-litttle-writer]

I have feelings about Aegon and since we’re all waiting for season two I’m gonna rant for a bit.

…

I’d like to talk about Alicent in the Green trailer saying something along the lines of “do you understand how much has been sacrificed to get you on the throne?” to Aegon and how low key manipulative that line is.

She knows Aegon doesn’t care about the throne but he does care about being burdensome to his family and that’s why the line most likely weighs heavily on him, we don’t quite know how he reacts from it but from the little bit in the trailer the line does affect him.

This is Aegon having to literally be dragged to his own coronation! This is Aegon trying to flee to Essos to avoid a war over the throne he doesn’t want or feel he is worthy of and ALICENT HAS THE AUDACITY TO SAY THAT TO HIM?! HE DIDNT WANT THIS! HE ACTIVELY TRIED TO AVOID ALL OF IT BECAUSE HE HATED THE IDEA OF TAKING THE THRONE SO MUCH HE WAS WILLING TO GIVE UP BEING A PRINCE! HE DIDNT ASK FOR ANY OF IT AND YOU’RE GOING TO USE THAT TO EMOTIONALLY HURT HIM?! Like I’m grateful the show is showing that side of her cause that is book accurate Alicent but I hattttteeee how Aegon is treated in the show and by the fandom.

I hatttteee that certain characters are deemed sympathetic and oh no poor them (Viserys) while others are not graced with an ounce of sympathy or most importantly empathy (Aegon). Is Viserys entirely bad? No, I hate him but I do not believe he has no redeeming qualities. He loved Aemma and he unfortunately realized his greed for a son was less important far too late, after he killed his wife for a son, does he love Rhaenyra and (sometimes, it’s rare cause Viserys is a coward by nature) stand up for her? Yes, but he is far less sympathetic than CHILD (say whatever you want about adult Aegon but child Aegon deserves none of what he is given) Aegon in my mind I will take no criticism on that. Viserys actively created the toxic environment he is surrounded by, if he’s suffering it’s of his own making. Aegon was a child for a bit of this nonsense and had absolutely no control over what happened around him.

Aegon is the son VISERYS FORCED TO EXIST. He manipulated (softly which is why people like Viserys more than like Larys Strong for example) but he still MANIPULATED (show Alicent not book Alicent cause book Alicent is the one who seduces him and manipulates him) Alicent into marrying him at 15, forcing her to have his children as she can’t deny her husband AND THE LITERAL KING. He wanted a son so badly he carved his first wife up to try to save the son that was killing her, this failed and so he forced Alicent to give him that son and then ONCE AEGON IS NO LONGER CUTE OR EASY TO LOVE HE TOSSES HIM ASIDE. He becomes completely and utterly absent in Aegon’s life and that’s not even talking about how little he cares about Helaena, Aemond, or Daeron, Daeron who was literally shipped off to another part of the continent. He does not care for Aegon, he doesn’t guide him, does not instruct him and teach him the ways of the world. Instead Aegon is stuck with having to rely on Criston “I bash in people’s skulls cause I can’t control my anger and I can’t get over the girl I fucked ten years ago” Cole and Otto “I view women as literal incubators for sons” Hightower, alongside Alicent “I’m a hypocritical coward who will damn and literally terrorize any woman who tries to find a way to cheat the patriarchal society instead of using my power as Queen to make my children’s lives better than my own” Hightower. These same people teach and raise him. One, they teach him to not regulate or handle his emotions. Two, they frequently and repeatedly beat and verbally insult him for just saying I don’t want to challenge my sister for a throne that isn’t mine. Three, teaches him and enables the toxic and sexist mentality perpetrated by the society that they live in that women are things to use and abuse by men and that consent does not matter to him because he is not only a man but a prince and she has no real right to deny him.

Why do you think Aegon grows to be an abuser? Because he was never taught anything else. His bad behavior was enabled or even encouraged, with only slight punishment from the same woman who literally paid his victim hush money to not tell people that her son forced himself on her. She stands there telling the girl her son forced himself on that “I understand” and “It’s not your fault” and then LITERALLY PAYS HER HUSH MONEY TO SHUT UP ABOUT IT AND GIVES HER WESTEROSI BIRTH CONTROL! THEREFORE ENABLING AND ALLOWING THAT BEHAVIOR AND SHE ACTS LIKE SHE HAD NO PART TO PLAY IN WHY HER SON BECAME AN ABUSER!

He is exactly your son. He is the son you chose to raise. Aegon wasn’t born like this, YOU MADE HIM LIKE THIS AND THEN DESPISE AND CURSE HIM FOR IT. He never had a chance to be anything else, he was doomed from the start and that is why I empathize more with Aegon than Viserys. Do I feel bad that Aegon was slapped and called out for forcing himself on a girl? No, he should have been properly punished. He should have been punished for that kind of behavior a LONG time ago. But that’s exactly the problem, Alicent doesn’t punish him for this behavior and then gets upset when he continues doing it. You created the “monster” in front of you and then are shocked when he does monstrous things. You made your own bed and now you refuse to lie in it and instead choose to frequently and repeatedly abuse, terrorize, and antagonize those who refuse to participate (Rhaenyra) in the system that turned you into a victim and your son into an abuser.

[rwrbficrecs]

August Faves

Monthly Faves are back! Sorry I missed July, it became too much work for me alone 😅 So we've decided to gather recs from the volunteers as well ❤️ Here's what we all read & loved in August, hope you enjoy 🥰

we've been here forever (here's the frozen proof) by @onward--upward (book-verse)

@read-and-write-: This is an AU, where Henry is an author and Alex, after reading Henry's books, starts exchanging emails with him by asking him about his own sexual identity crisis. This fic is cute, it's emotional, it's funny. It has everything you need and more.

@inexplicablymine: Have you ever feen so emotionally fulfilled by a story you want to spoon feed it to all your friends? That is this fic right here, filled to the brim with comfort and care it’s a masterclass in strangers to lovers.

@thesleepyskipper: A fic I couldn’t put down no matter how hard I tried

@indomitable-love: I want to climb inside this fic and live in it.

Going Platinum by @cricketnationrise (book-verse)

@gwiazdziarka: Henry falls in love with a stranger on the Internet and it's camboy!Alex. This slightly ridiculous concept makes interesting things happen and it's hot. NSFW.

Who'd have known by HiguT (book-verse)

@gwiazdziarka: Alex and Henry are friends since Rio and Alex turns to Henry when he has sexuality crisis. Henry helps. It's short, sweet, a little awkward and I absolutely love it when Firstprince become friends in Rio.

The Edge of Glory by @historicallysam (book-verse)

@myheartalivewrites: This is a really sweet post canon fic, posing the question: what happens when Alex gets tapped to run for office, after he and Henry and their family have been settled in Austin for many years. It really had me by the heartstrings, I love seeing the boys grown up, talking to each other and sorting their stuff out, and this did not disappoint!

muscle memory by @stutteringpeach (book-verse)

@myheartalivewrites: Is one of those fics where the tension is unbearable between them and you just want to shake them and make them talk, but then the sexy stuff is also excellent

Body Count Baby! by @orestespdf (book-verse)

@myheartalivewrites: this is a fun look into the boys sexual history, and honestly I’m desperate to know more about Henry’s slut phase, I would read about it endlessly

Things I Cannot Accept by @sprigsofviolets (book-verse)

@suseagull04: An interesting AU where Ellen never became President during the 2016 election and how that affects our favorite prince and would-be FSOTUS and how they get together. If you love slow burn, you'll love this fic!

@read-and-write-: It's a new take on canon, one that doesn't shy away from talking about politics, about Ellen's relationship with her children and Catherine's relationship with hers. It's emotional and it's beautiful, every word is worth it

@inexplicablymine: What if it all happened a little later, a little more realistic, and filled with just as much heart. For those who love Angst+Fluff you will get both in droves. There is a chapter in here that made me cry like a baby it was such a good representation of the tenderness of opening yourself up to another.

Every nation ought to have a right to provide for its own happiness. by @beautifulhigh (book-verse)

@daisymae-12: I love how sweet Alex and Henry’s relationship is in this fic, and the exploration of Henry deciding to exit the line of succession is handled beautifully too!

show me all your seasons by @villiageidiot (book-verse)

@daisymae-12: I don’t know how I managed to miss this fic the past two years – it’s such a lovely gem that deserves all the love. Really loved the way we journey through the seasons with Alex and see him figure out how he feels about Henry.

With so much of my heart (that none is left to protest) by @kiwiana-writes (book-verse)

@rmd-writes: From the minute I started reading this Shakespearean actor au I’ve been obsessed with it. It’s not just the inclusion of so many epistolary which makes for a fic that looks pretty. It’s an incredible fic all round - impeccable characterisation, clever use of canon elements, a well-written, perfectly paced plot underscored by so much love and joy (even amongst the angst) that just leaps off the page. It had me laughing and squealing and crying and I can’t wait to read it again!!!

@inexplicablymine: One of my favorite retellings with chapters that made me cry tears of joy. This is the kind of work you pin your hopes and dreams to because it fills you with something you didn’t know you were missing. I can not get enough of it and it leaped to the top of my all time favorites very early on.

[jounosparticles]

maybe i’m biased but honestly the kenji vs tetchou fight may be my favourite in all of bsd (which is a hard choice since there are so many good ones)

first off, the animation of it was easily the best i’ve seen in the anime. it looked really intense and i absolutely adore it. the sound design was also great as well as the line delivery.

story wise, i think the fact that they both made sure nobody was around before fighting to keep people safe was very in-character for them both. you could also tell neither of them initially wanted to fight but tetchou attacked because the book makes the agency appear guilty no matter what. yet he was still kind when talking to to kenji and kenji was kind back prior to and after the fight.

tetchou was also clearly distracted by jouno being gone to the point where he pushed justice (the thing he pretty much always prioritizes) aside in favour of helping jouno. that shows how much he cares and how worried he was. that puts a heavy emotional impact on the fight, the fact that tetchou was clearly desperate to save jouno quickly with literal justice on the line.

in contrast, kenji went up against the man who had already stabbed him numerous times before and was still kind and listened to him talk first. kenji is probably the nicest character in the entire series, he offered to help the man who tried to kill him and his friends. the fact that he could calm his anger after and still be completely willing to help tetchou shows a lot about kenji as a person. for a 14 year old, kenji is extremely mature and gentle for being willing to help after all of that.

they both could have easily fought until one was dead, but tetchou admitted his mistakes and offered his life to kenji because he realized he had failed. yet kenji seen the sincerity of that and offered to help him despite the fact that they were on the verge of killing each other.

they ended up bonding at the end. it genuinely made me so happy to see this animated, both admitting they had made mistakes and agreed to help each other. which means tetchou has likely broken the writing of the book by thinking clearly, much like how ranpo said the police could do in the first episode of season five.

i really hope we get to see them searching together soon, the two have very close morals and i could see a good friendship form between them. i feel like they’d make an insanely powerful duo in the future as well, i would love to see tetchou mentoring kenji.

"kenji. to have learned that name…was my greatest accomplishment of the day."

[panda-writes-kpop]

Sour Banana Slushie - Kazuha

a/n: I'm going to be completely honest with you, folks, I really wasn't going to post anything this week because I had exams last week and was too burnout to focus on anything else. however, I had a boring shift at work today and had some extra time on my hands so I have this lovely little draft for you. And yes, our beloved hunters in this fic will make their returns at a later date. :)

tw: kidnapping, demons, deception, there's an exorcism without saying there's an exorcism, some mentions of violence, one shotgun is seen and loaded but it unused, reader is vengeful AF, supernatural spoilers if you aren't caught up to season 3, oddly sad ending

summary: a lovely vacation with your beloved Kazuha goes wrong when you run into two demon hunters. which would be absolutely no problem... if you two weren't centuries-old demons.

♡ Masterlist ♡ ▪︎▪︎▪︎▪︎▪︎▪︎▪︎▪︎▪︎▪︎ ☆ Prompt List ☆

"Next time, I'm choosing the motel." Kazuha sighs as you struggle against the bindings on your arms. "It's no use, trust me, I already tried."

"Where are we?" You slowly raise your head as the dizziness starts to fade - you must've been drugged while you weren't looking.

You remember the bright lights of the bar. The pretty women passing you by - but none would ever compare to Kazuha.

It didn't matter what form she took. You still loved her years and years later.

You were talking to two women - hunters, you were sure, and you tried to warn your beloved, but it was too late. The needle in your arm had already done you in.

Your eyes lock with the same two women, one who nervously checks the closed blinds and the other who holds a shotgun with one hand.

"Did you two think that you'd get away from us? After all of the shit you've done?" The girl with the shotgun scoffs before loading it up with... salt?

"We're just a couple of vacationers, please, let us go!" Kazuha tries to reason with them, but neither of your captors are swayed.

You look down at your feet, only to notice an odd looking pentagon that's been drawn at your feet. Once the realization hits you, you thrash around until your hands and feet are loose.

"Let us go. You don't know who you're messing with." You hiss as you pace around the circle.

Kazuha's tied up, away from your reach, but the pentagram above her head traps her in.

"Who would that be?" The girl at the window asks as you stop pacing.

"Siyeon-ah, you know they're not going to answer truthfully. They're demons-" The girl with the shotgun starts to reason with the other, but you interrupt their conversation.

"-Lilith." You stand still as her name passes through your lips. "She might tear me to bits for saying that, but you might not send me back to Hell if I'm honest with you."

"Darling-" Kazuha calls out to you as you sigh.

"If it counts for anything, SuA, I would've followed Siyeon if things had worked out between her and that other demon." You shrug as SuA scoffs before loading the shotgun.

"Siyeon, do the ritual." SuA looks over to Siyeon.

"What if they're telling the truth? We have a lead, a name of a very dangerous demon. We can finally do something to prevent the apocalypse."

"It's already come," Kazuha mumbles, "and we're not even the worst parts of it."

"SuA-"

"Say the damn words before I find the book that contains the ritual." SuA shuts Siyeon down, and the latter reluctantly begins to recite a chorus of Latin words.

Pain immediately covers your whole body as you fall to the floor. You hear Kazuha's screams echo around you, but you can't find the strength or energy to look at her.

You wouldn't harm any humans, at least, not any that didn't deserve it or muddle in your business. But upon hearing Kazuha's screams and cries for mercy, something within you broke.

You're going to rip those two hunters to fucking shreds when you're back above the surface.

"I love you, Kazuha." You grit your teeth as you feel yourself succumb to the pain.

It won't kill you, but you'll be sent back to hell until another doorway opens or some idiotic human summons you.

You swear that you can hear Kazuha whisper back to you, but you can't make out what she has said. Maybe it's the regrets of your mind speaking her words instead.

Either way, you just hope that Kazuha will be with you when you end up back in Hell. And when you do, the first thing you're doing to do is figure a way out of Hell.

Just so you can put an end to those fucking Winchesters.

[dynared]

Random thoughts on the Earthspark cancelation and what comes next for the Transformers brand

What a week, huh? So, we got confirmation Earthspark was canceled, Hasbro put the absolute bare minimum effort into their 40th anniversary celebration leading to many people going to the movie theaters expecting Transformers the Movie and not DVD-quality episodes of the TV series with many demanding refunds, and some good news, Transformers from Skybound being nominated for several Eisner awards, the first time a Transformers comic has ever been nominated for the comic book world's Oscar equivalent.

So once again, the brand, the sole surviving Western mecha brand at this point unless that J-Lo movie next week somehow launches a new franchise (doubtful) is at a crossroads, especially with their enduring business partner Paramount in complete turmoil, with more senior executives jumping ship and an official NDA signed between Paramount and Sony yesterday which allows Sony access to Paramount's record-keeping in order to ascertain the value for a bid.

So with all that said, rambling about the franchise under the cut.

Earthspark is done after this season, and it's easy to see why. While many right-wing grifter types will point to the nebulous "wokeness", an ill-defined term at this point that means little besides "bad non-traditional thing", the reasons are pretty simple. Kids weren't interested, the toyline didn't sell, and the show, whether due to being distributed on a streaming service people only get for Sonic stuff and the occasional South Park special, had very poor ratings. If you're making a kids show and you bore the kids, you're done, no matter how "important" you think the stories are. The days of Ted Turner funding Captain Planet out of his own pocket are long gone.

Since Earthspark is dead, but another series is in development, it looks like Hasbro will not be letting the franchise rest for any set period of time. The most likely follow-up for Earthspark is a spin-off of Transformers One similar to what Tales of the TMNT is for Mutant Mayhem after the latter's box-office success. It's a pretty low-risk venture to boot, with the biggest issue being the usual problems with a movie spin-off (lower quality visuals, sound-alikes since you can't pay the celebrity actors to do the voices week in and week out) so long as the movie is a success. It also lets the franchise establish some needed distance from Earthspark's lack of success.

Now, the question of "What if One isn't a success?" definitely is one that Hasbro is contemplating. For all the ragging on Snake-Eyes GI Joe Origins as a box office bomb, Rise of the Beasts was widely viewed by Hollywood as a flop and the lowest-grossing film in the history of the franchise. While a lot of that may be due to the wishy-washy way the continuity has been handled and the inability to commit to a full reboot (Madame Web producer Lorenzo di Bonaventura has been insistent that all the Michael Bay movies are still canon, even though that makes no real sense), if One isn't successful, the franchise may need to step back for a year or two.

Any other new concept for a series that fans have wanted is simply not feasible due to time and budget. With Hasbro joined at the hip with Paramount (apparently Hasbro board members own Paramount stock, hence their desire to keep the relationship going so long as Paramount exists), they don't have access to or funds for numerous studios. Studio Trigger have been asking to do a Transformers show for years now, hence all the shout-outs in stuff like SSSS.Gridman and even Panty and Stocking. Studio Orange's head took to the internet earlier in the week asking to be able to do a mecha show. Neither is getting the call from Hasbro because Paramount would rather use local Western studios and save money.

That of course leads to the final option for an adaptation, a 1:1 or similar of the Energon Universe. The problem with that is simply put, it's way too soon. While it would assuredly get a lot of attention just by putting down "From the creator of Invincible and The Walking Dead" in the promos, animation lead times mean that it would be impossible to do at this point without overtaking the entire stock of comics and either resulting in huge delays between seasons, or filler. Neither of which would be helpful.

So I guess tl:dr - Earthspark bombed not because of a non-binary owl, but because the kids were bored by it, with even the Fox News controversy failing to get the show any real positive attention with its main demographic of families. As horrible for Hollywood as it may be to see Paramount be sold for parts to Sony, it may actually be Hasbro's best bet at making its tie-in brands successful again on the big and small screens. And if One doesn't succeed, they are going to be in big trouble because nothing else is realistically ready yet.

[rynnthefangirl]

So… looks like Battle of the Gullet is on the edge of happening. What do we think they are gonna do about the Aegon the Younger age issue? We already have him and Stormcloud both too small for their battle escape as established in the current timeline. If Tyland’s fleet intersects them, then there is no in universe ambiguity with which to age them up and hand wave away a vague time lapse.

Option 1: They do it anyway, and hope nobody cares. There doesn’t need to be too much of an age increase. The actors they used in season 2 will probably be old enough by the time of filming, and if they recast they can always recast someone slightly older. I think 6 or so would be enough. Stormcloud would need to be bigger too, but again you can probably do that and just let the inconsistency stand (my ideal option, though I unfortunately don’t think they will go this route).

Option 2: Another, more likely one, is rewriting the scene to remove Aegon’s agency. Instead of him escaping on Stormcloud, he may be rescued by the Dragonseeds. This should be an easy enough rewrite, and you can still have Viserys lost in the chaos if he and Aegon get separated. Stormcloud could die just in the general battle. Obviously I dislike this option, as it erases a very very key moment in Aegon’s book arc, a formative experience that (along with Rhaenrya’s murder) is a driving factor of his depression and trauma. Specifically his self blame and survivors guilt. It also erases one of the most heartbreaking dragon deaths. Baby Stormcloud dying will be sad no matter what, but carrying Aegon all the way back to Dragonstone while shot full of arrows because he refuses to fall until his rider is safe… you cannot top that.

Option 3: Enact some sort of delay in the Battle of the Gullet in the in universe timeline. I am not sure how this would be done. Rhaenyra is about to take kings landing, and I’m not sure it makes sense for her to still send her sons to Pentos once the city is secure. Though with the Gullet by Dragonstone, they could also be attacked when heading to Kings Landing. Perhaps they stay at another port for a while, or are called back for the Vale once word comes of Rhaenrya taking the city. Meanwhile Tyland’s ships are taking time to prepare an attack plan. Even a small ambiguity in the timeline can be used to sneak in a couple years age up. We also do need more time for Jace’s character arc to be complete, before the Gullet happens.

Option 4: Aegon’s role in the Gullet could be substituted with Joffrey, who is already old enough. However, I hate this option more than any other. It is absolutely nothing against Joffrey, but I don’t want any of Aegon III’s few moments given up to another character. It feels insulting if they clearly are willing and capable of doing the scene, and simply chose not to do it with the future king for whom the event is a cornerstone of their character. I’d rather them simply not do it at all, as in Option 2.

Honestly if they give the Battle of the Gullet plot point to Joffrey, and the Rhaenyra’s death plot point to Alicent, I think I would actually lose my mind. Like I would be done. I have a very very high tolerance of changes to the source material because I view HOTD as it’s own separate canon, but giving away the backstory of my #1 favorite Targaryen (and if I’m being totally honest, ASOIAF character, minor as he may be) to other characters will be my line. I can’t do that. One event would be bad enough, but both of them??? Nah.

On a side note: I find it very interesting that with Tyland bringing the fleet from Essos, he will be responsible for both of the two major traumatizing moments of Aegon the Younger’s childhood. I like that change, adds more poignancy to Aegon’s eventual forgiveness of him.

[wakeupthemembersofbylernation]

It’s really funny when you think of season 4 basically being a tragicomedy where two fruity disasters are engaged in a dance of who can miscommunicate the most. They both are actually on the same page with a desire to go crazy together and be a team but they assume the other boy is reading an entirely different book. Mike goes to Cali frazzled with a million chaotic thoughts, his confusion and flustered heart barely concealed by his Big Bird core outfit.

I have a girlfriend and I’m supposed to love her. Of course I love her, she’s my girlfriend! She’s El! She has superpowers! She’s changed my life! Yes, stick to the script! I can’t wait to meet her friends she’s been telling me about and also to meet Will 😍. Wait, why did I just get flustered? It’s just Will. My friend. Will Byers. WHO HAS APPARENTLY BEEN MAKING A PAINTING FOR A MYSTERIOUS GIRL?!? I wonder what that’s about. Actually I don’t wanna know. It’s fine. Oh my God, he got hot. Why did he get hot? Wait, don’t think that. That’s weird. He’s a boy. He’s Will. Act calm. Be normal. Uhhh. hi 😍 😍😍 Wait, why isn’t he showing me that? Does he hate me? Of course he does. Why wouldn’t he?

Meanwhile Will, with no idea about Mike’s internal monologue, is extremely eager and happy to see his best friend again and is utterly confused why he is being so weird and not hugging him and why his outfit is so questionable. I guess he doesn’t care about anything I have to say anymore. I’m so stupid. Why did I make this painting and bring it to this airport like a loser? He doesn’t want to see it. Which is literally the opposite of the truth. And then things start happening too fast to process anything, and everyone’s talking fast, and El is flagrantly lying to Mike and it’s quite disturbing. Why would she do that? Friends don’t lie. This can’t end well.

And then at the roller rink Will is in tragic yearning mode while also keenly aware that a fire is brewing and wanting to put out the fire before it hurts both his sister and his best friend, both of whom he loves dearly. But Mike is oblivious to all of this while in his feelings about Will, paying absurdly close attention to Will “moping and rolling his eyes,” interpreting things in the wrong way. And then he shoots up like a gopher on adderall when Will tells him they need to talk about El because something is terribly wrong- which would be crystal clear if Mike wasn’t hyperfocused on Will’s every mood swing- and he refuses to believe it until it becomes undeniable, choosing instead to address what is clearly on his mind significantly more than his actual girlfriend on a theoretical date. And they have a high school musical coded fight in the middle of the building, entirely misunderstanding where the other boy is coming from, and it just leaves them more flustered, frustrated, and confused. But because they are incapable of personal space, it doesn’t make them drift apart physically. They stand side by side as El absolutely decks Angela to Will’s shellshocked sinking feeling of “This is my fault. I should have prevented this from happening,” and Mike’s feeling of horror and shock and, “Where did any of this come from? I just got here.”

And then later on El and Mike have their fight about him not being able to say I love you, which is confusing and full of gaslighting and contradictions and is super messy no matter how the cake is sliced, but Will is not there for any of this, so he has no reason to believe El and Mike are on the rocks. Because why would they be? He heard Mike say I love you to a room full of their friends a year ago. And Mike is clearly dealing with so many internal thoughts and conflicted feelings that he won’t share with the class- with the class being both Will and the audience- so post el’s arrest and post her “superhero” journey we have to watch Byler have these incredibly coded conversations that get increasingly more chaotic. Mike’s basically like, “Yeah bestie I’m not sure about this whole macaroni and cheese thing and I don’t know if me and El are really right for each other, you know? It was prolly like dumb luck or something, but you’re the greatest thing that’s ever happened to me, Will, and I think we should work together as a team, as best friends, as lovers- wait, who said that? Anyway, what do you think, my totally platonic bestie?”

All this as [tender, emotional music] plays. And Will, even though it destroys him inside, is extraordinarily selfless, and is basically like, “I’m sure you and El will work things out and talk through whatever’s happening. You love each other. You are perfect for each other. And I will always be here to reassure you.” And Mike’s like, “That’s not how I envisioned this convo going. Are you sure?” And while holding back tears, Will’s like, “Of course I’m sure! Why wouldn’t I be sure? Look at this painting I made you.” And Mike’s like “Wow 😍😍😍 did you make that for me?” And Will’s like, “Sure did! Actually El basically did. She commissioned it.” And Mike is like, “Oh. Okay. It’s still really beautiful tho. Which of course it is. Because you made it. But I… I’m confused. But I don’t fully understand why I’m confused. I’m glad El needs me! I think?”

Meanwhile, Byler literally wants the same things, they both deeply desire and love each other, but they don’t know how the other feels. And if they both paused for one second, were fully honest with each other, and stopped speaking in code, things would fall into place. And they could walk hand in hand, crazy together, into the apocalypse.